What I Got for Xmas: Nick Drake's Five Leaves Left on Vinyl <<>> A Look at 60s/70s British Folk - Bert Jansch, John Renbourn, and John Martyn

This one needs no explanation or link.  Nick Drake’s Five Leaves Left (1969 Island Records) is an indispensable classic. And I am happy to say I now have it on Vinyl, and it’s in great condition! It’s the 1973 American release on Island’s subsidiary, Antilles Records. (Now If I could just track down Pink Moon for an affordable price, if that’s even possible...) 

Unlike the stripped down Pink Moon (1972 Island Records), N. Drake’s debut recording has a variety of instruments accompanying his folk compositions; In fact, bass player Danny Thompson of the legendary folk group Pentangle plays on almost every track. That seems appropriate considering Pentangle, a folk supergroup, featured 2 artists that were important influences for Nick Drake; they were Bert Jansch and John Renbourn, of course.  

Pentangle - 1968

Nick Drake, the mentioned members of Pentangle, along with artists such as John Martyn and Ralph McTell - they were the major figures of the 60s British folk revival movement.  Unlike Nick Drake, however, most of the above mentioned artists get little attention from later generations of music enthusiasts, so here’s my present to you:

Selections of Bert Jansch, John Renbourn, and John Martyn

Bert Jansch was a Scottish folk musician that was a founding member of Pentangle and a major influence on later players such as Nick Drake.  He had a prolific solo recording career as well, and his influence continues to impact recording artists today.  I think of Fleet Foxes, for instance; some of their songs recall Jansch’s baroque-style approach to folk composition. Seminal figures such as Neil Young have even cited Jansch’s virtuoso guitar playing as an influence and source for inspiration. Jimmy Page should have been more forthcoming about his common source of influence when reworking Jansch’s take on the traditional song, “Down by Blackwaterside,” and renaming it “Black Mountain Side.”  The song was the 2nd track of side B of Zeppelin’s masterpiece self-titled debut (released 1969; Antlantic/Polydor), and Page learned the song indirectly through Jansch’s known performance of the tune.  Bert Jansch recorded his version of the song on his third full length, Jack Orion (1966 Transatlantic Records).  Here’s a video of him playing the song live (watch his finger action on the neck... it’s insane...:

He’s an amazing player.... unreal at times. It’s not an overstatement to list his name with legends like Hendrix and Robert Johnson.  Now here’s the derivative Zeppelin version, “Black Mountain Side”:

Page claimed all writing credits for the song in the liner notes of the first album; he didn’t even acknowledge the song’s “traditional” origin - nor did he mention Jansch’s name, of course, and that’s too bad.  Jansch recorded over 20 albums, and sadly, he passed this last October (RIP).  His music is essential for all guitar players, folk enthusiasts, and those interested in the roots of Nick Drake.

Bert Jansch recorded and released his solo debut, Bert Jansch (Transatlantic Records), in 1965.  It’s an album that makes its way onto many lists of essential folk records.  Some of the highlights (for me) are the songs, “Needles of Death” and “Courting Blues.”  Here’s the song “Courting Blues”:

Definitely check out the entire self-titled debut. [Some other early classics to search for and check out are the above mentioned Jack Orion (1966 Transatlantic) and his sixth album Birthday Blues (1969 Transatlantic - it's linked below...).]

Bert Jansch's self-titled debut

One of my favorite albums by Bert Jansch is the 1971 release Rosemary Lane, his seventh full length recorded at his country home over the latter months of 1970.  In fact, I think my favorite Jansch song of all time is the tune “Reynardine”:

Such beautiful sounding chords in that arrangement.  Now watch him play the song live in his later years:

He really is an amazing player.  Check out the entire album; it’s perfect for a rainy afternoon...

**couldn’t get the link to work on this one, sorry...**

Here’s another classic album, Birthday Blues (1969 Transatlantic), instead:

Jansch's Birthday Blues

John Renbourn

John Renbourn is an English folk musician that emerged out of the same folk revival scene as Bert Jansch.  As mentioned before, he too was a member of Pentangle, and he has released many many solo albums over the years as well.  I remember reading a description of Renbourn in the liner notes of a retrospective greatest hits album that characterized him as the J. J. Cale of Britain.  I can hear that at times, for sure, but he also picks the guitar much like Jansch.  An album like Faro Annie (1971 Transatlantic Records) fits the liner notes comparison perhaps.  For instance, here’s his version of the traditional “Kokomo Blues”:

That song has got the J. J. Cale-like vibe going on; it’s subdued, chilled out bluesy folk-rock at its best. But if you listen closely, you here some mean, traditional folk-picking on the guitar track; Renbourn definitely remained in the realm of traditional folk more so than Mr. Cale.  

John Renbourn & Bert Jansch live

He also recorded some great collaborative albums with Bert Jansch, outside the namesake of the successful Pentangle.  Here’s the opening track of their album Bert and John (1969 Transatlantic Records); it’s called “East Wind”:

Talk about some fanstastic guitar picking. Definitely check out both albums entirely:

John Renbourn's Faro Annie 

Bert and John

John Martyn was another major figure of the British folk revival as well as a good friend of Nick Drake.  He too recorded over 20 solo albums before his career ended with his death in 2009 (RIP). John Martyn started as a folk singer with very similar qualities and sensibilities as his aforementioned friend.  Martyn continued to develop after the early 70s in a way that many of us lament, however.  His recording career seems to fall victim to the cheesy production innovations of the late 70s and early 80s.  As one friend said, he starts to sound like “yuppy dad guitar music” sometime after his most influential release, Solid Air (1973 Island Records). Don't get me wrong though; hear me clearly. His early folk albums are classics, which showcase virtuoso guitar playing that may match that of Jansch’s mastery.  One of my favorite early releases is his sophomore album, The Tumbler (1968 Island Records).  Listen to his dynamic picking on the album's last track, “Seven Black Roses”; this one, however, must be heard (and watched) live, and you’ll see why...:

Wow... He almost makes it look easy... almost..... Check  out the album; it’s a folk classic:

John Martyn's The Tumbler

Another great one from the early years is the third full length, Stormbringer! (1970 Island/Warner Bros.), an album co-written and performed by John Martyn and his wife, Beverly Martyn.  Levon Helm of The Band played drums on the record as well; here’s the title track (with some film clip eye candy...):

 John Martyn's Stormbringer

Of course, his most famous release is his seminal sixth album, Solid Air (1973 Island Records).  The title track was a song dedicated to Nick Drake who would tragically overdose on antidepressants a year later.  Here’s the song, “Solid Air”:

I love the second song of the album; in fact, I used to cover the song frequently in a band many years ago.  The track is entitled “Over the Hill”:

Solid Air is an historically essential album, much like Five Leaves Left or Pink Moon. Definitely get a copy....

John Martyn's Solid Air

**(link webpage is in another language here; when on the page, just type the provided key code and click the green button on the bottom left...)

Enjoy the music and happy holidays!